Music in Twelve Parts, written by Philip Glass in 1971-1974, is a deliberate, encyclopedic compendium of some techniques of repetition the composer had been evolving since the 60s. It holds an important place in Glass's repertory — not only historically (as the longest and most ambitious concert piece for the Philip Glass Ensemble) but aesthetically as well. Music in Twelve Parts is both a massive theoretical exercise and a deeply engrossing work of art.
In the past, Glass vociferously objected to being called a minimalist composer. He now grudgingly accepts the term — with the distinction that it only applies to his earliest pieces, those up to and including Music in Twelve Parts. It is difficult to see how such a mammoth work as Einstein on the Beach can possibly be called minimalist and Glass now speaks of himself as a composer of music with repetitive structures.
Part I remains some of the most soulful music Glass ever wrote, yet it is also one of his most reductive compositions: at any place in the music, reading vertically in the score, both a C# and an F# are being played somewhere in the instrumentation. Through skillful contrapuntal weaving, Glass creates a drone that is not a drone — an active, abundant, richly fertile stasis.
Part I leads directly into Part II, which introduces a different key, a faster tempo, greater rhythmic and melodic variety and the human voice. «A new sound and a new chord suddenly break in, with an effect as if one wall of a room had suddenly disappeared, to reveal a completely new view.»
Part III, one of the few self-contained movements, is a gurgling study in fourths, and one of the shortest. Part IV is extraordinary: after a brief introduction, it becomes a lengthy examination of a single, unsettled chord that sweats, strains and ultimately screams for resolution until the musicians suddenly break into the joyous, rushing catharsis of Part V.
Part VI is another example of how Glass can take what initially seems a standard chord progression and gradually build considerable interest on the part of his audience as he presents it to us, again and again, from different rhythmical perspectives. Part VII clearly derives from Music in Similar Motion, but the development is much more swift than that of the earlier work and it is infinitely more virtuosic (the soprano, in particular, does her best to avoid tongue-twisting and sibilance in the exposed, rapid-fire melismatic passages). And the close of Part VIII prefigures the «Train» scene in Einstein on the Beach, with its irresistible forward motion and sheer, «boy-with-a-gadget» fascination with a systematic augmentation and contraction of the soprano line.
«I had a specific purpose in mind when I set to work on Twelve Parts. I wanted to crystallize in one piece all the ideas of rhythmic structure that I'd been working on since 1965. By the time I got to Part VIII, I'd pretty much finished what I'd started out to do. And so the last movements were different. Parts IX and X were really about ornamentation.» Part IX, after a lithe, bouncing, broken-chord introduction, becomes a study in chromatic unison while Part X begins with a blaring, aggressively reiterated figure in the winds that is eventually softened cushioned — by the addition of complementary figures in the bass.
Parts I-X had all been based on stable harmonic roots that had remained constant throughout the movement. Part XI is just as rigorous in its application of an antithetical approach: the harmony changes with every new figure. In Part XI, which is essentially an aria for soprano and ensemble, there is more harmonic motion than in all of the mature works Glass had composed in the previous ten years put together.
Music in Twelve Parts ends with a musical joke that may be amusing to those who remember the musical politics of the 60s & 70s. Like most young composers of the time, Glass was trained to write twelve-tone music; unlike most of them, he rejected the movement entirely. And yet, in the bass line of Part XII, toward the end, the careful listener will discern a twelve-tone row, underpinning this riot of tonal, steadily rhythmic, gleeful repetition -underpinning, in other words, all the things that textbook twelve-toners shunned.
«It was a way of making fun not only of others but also of myself. I had broken the rules of modernism and so I thought it was time to break some of my own rules. And this I did, with the shifts of harmony in Part XI and then in Part XII, where, for the first and only time in my mature music, I threw in a twelve-tone row. This was the end of minimalism for me. I had worked for eight or nine years inventing a system, and now I'd written through it and come out the other end. I'd taken everything out with my early works and it was now time to decide just what I wanted to put back in — a process that would occupy me for many years to come.»
Koyaanisqatsi Movie Full Soundtrack — Phillip Glass (1982)
Опубликовано: 23 окт. 2013 г.Koyaanisqatsi also known as Koyaanisqatsi: Life Out of Balance, is a 1982 film directed by Godfrey Reggio with music composed by Philip Glass and cinematography by Ron Fricke.
Andrew Weatherall — Haywire Sessions on Groovetech Radio (2002-08-22)
Опубликовано: 15 мая 2015 г.Andrew Weatherall on Groovetech Radio in 2002
Haywire Sessions radio show
Andrew Weatherall is a famed DJ, producer and remixer, who has worked in and shown enthusiasm for a wide variety of genres. Previously ran Sabres Of Paradise and Emissions Audio Output.
These sets were were originally streamed in real media in the early days of online streaming radio. Unfortunately, you'll have to excuse the poor quality.
Опубликовано: 5 авг. 2015 г.Melodic masterpiece by Dj Hidden
Artist:DJ Hidden
Format: 12"
Record Label:Hidden Tracks
Catalog#: HIDTR004
You can buy here: http://www.triplevision.nl/release/HI...
Опубликовано: 5 окт. 2013 г.HECQ / BEN LUKAS BOYSEN http://hecq.de/
Since 2003, Ben Lukas Boysen is writing, producing and performing music, specializing in sounddesign and composition.
The focus of every project is to find an efficient and direct way to leave a strong emotional impact, whether it is the production of an album or the conception and completion of a commercial project.
The concept of investing a lot of thought and therefore making every production special rather than settling with something fast and convenient is the driving force behind every project as well as the thought that every score, commission, track, or remix should get the same amount of attention and detail. In short: moving away from music and sound as a product and perceive every project as a customizable and individual challenge.
I do not claim ownership for any of the contents on the video. If you like it, you can support the artist buying from his own website. http://hecq.de/discography/0000/
Defqon.1 2015 | The Gathering at BLUE | Brennan Heart
Опубликовано: 10 июл. 2015 г.• Mark your calendar for Defqon.1 Weekend Festival 2016. From June 24 until 26, all Weekend Warriors unite for the ultimate rave adventure.
